44
For just as we set free expression and truthfulness as the target for the historian’s mind, so for his language this should be the first aim: to set forth the matter exactly and to expound it as lucidly as possible, using neither unknown or out-of-the-way words nor that vulgar language of the market-place, but such as ordinary folk may understand and the educated commend. Then, let figures adorn the work that give no offence and in particular appear unlaboured; otherwise he makes language seem like highly-seasoned sauces.
45
Let his mind have a touch and share of poetry, since that too is lofty and sublime, especially when he has to do with battle arrays, with land and sea fights; for then he will have need of a wind of poetry to fill his sails and help carry his ship along, high on the crest of the waves. Let his diction nevertheless keep its feet on the ground, rising with the beauty and greatness of his subjects and as far as possible resembling them, but without becoming more unfamiliar or carried away than the occasion warrants. For then its greatest risk is that of going mad and being swept down into poetry’s wild enthusiasm, so that at such times above all he must obey the curb and show prudence, in the knowledge that a stallion’s pride in literature as in life is no trifling ailment. It is better, then, that when his mind is on horseback his exposition should go on foot, running alongside and holding the saddle-cloth, so as not to be left behind.
46
Again, in putting words together one should cultivate a well-tempered moderation, without excessive separation or detachment—for that is harsh—and not, as most people, almost link them by means of rhythm; the latter deserves our censure, the former is unpleasant to the audience.
